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Movie · 2028

Movie · 2027

It’s rare to see a TV show completely reinvent itself, but that’s exactly what Apple TV’s post-apocalyptic sci-fi epic “Silo,” based on the books by Hugh Howey, has done with its upcoming third season. Thanks to a last-minute surprise scene in the Season 2 finale, approximately half of the running time (roughly) of Season 3 turns what was a mystery box show about what happens after the end of the world into a taut political thriller that is part Tom Clancy, part Robert Heinlein, and set in — if not the present — the very near, very potential future. Season 2 left heroic engineer Juliette (Rebecca Ferguson) and her antagonist Bernard (Tim Robbins) in dire circumstances, possibly getting flash-fried while the titular Silo — an underground bunker 300 or so years in the future, populated by 10,000 people who have never seen the outside world — was erupting in rebellion. But the bigger surprise is what happened next,

UTA partner and agent Jeremy Barber has been appointed to Unicef USA’s national board of directors. “I don’t know that there’s more important work ultimately than the well-being of children,” Barber tells me during an exclusive interview. “It’s irrefutable, right? It’s not left or right. I would tell you, I’m a Rockefeller Republican, which means I’m a bleeding-heart liberal and I’m a conservative with a small “c.” I believe we’re here to take care of each other. We gotta do right. You can’t step over bodies.” In fact, before joining Unicef, Barber was on the board of The People Concern, one of Los Angeles County’s largest and most impactful social service providers that addresses homelessness, poverty, mental and physical illness, abuse and addiction. “During Covid, my three kids and I were biking in Venice,” Barber recalls. “We saw a shanty town,

Thirty years since their respective foundings, it feels especially fitting that IndieWire be the outlet to exclusively unveil the final wave of titles for Fantasia’s landmark anniversary edition. Running July 16 through August 2 in Montreal, Canada, this year’s festival reflects a genre history every bit as rich, weird, and groundbreaking as the discovery-driven city that hosts it. Since 1996, Fantasia has offered a uniquely communal home for some of genre cinema’s most important and transgressive sensations. With programming that’s long been gloriously unclassifiable, the annual film event has also cultivated an audience and competition jury pool that tends to embrace the unexpected as enthusiastically as its programmers. That’s made Montreal the place for the world’s strangest cinephiles to meet every summer and toast genre storytelling’s wildest impulses. This year’s milestone edition furthers that legacy by pairing foundational film voices with the next generation of artistic troublemakers.

2026 is halfway over, and the movie year so far has been full of surprises. Nia DaCosta’s sublimely warped “28 Years Later: The Bone Temple” kicked things off with a bang, and set a very high bar for the year’s studio fare by iterating on its predecessor in devious and unexpected ways, while Phil Lord and Christopher Miller’s dazzling “Project Hail Mary” heroically punctured the “are movie theaters dying?” conversation — setting things up for “Obsession” and “Backrooms” to come along and twist the knife. On the boutique front, we already knew that A24 and Neon were going to begin the year on a high, but the previously unscreened likes of “The Drama” and “Mother Mary” both delivered the kind of daring and provocative experiences that mainstream audiences are typically starved for at this point on the calendar, while holdovers like “The Christophers,” “Exit 8,” and “Nirvanna the Band the Show the Movie

Kirk Jones’ Bafta-winning I Swear and Clio Barnard’s Cannes Directors’ Fortnight drama I See Buildings Fall Like Lightning are among the latest round of UK Global Screen Fund (Ukgsf) distribution award recipients. A total of 25 companies received support via the Prints and Advertising and Festival Launch tracks in this round, totalling £703,956 of grants. Tourette’s biopic I Swear received the biggest Prints and Advertising grant, with £100,000. This strand aims to help with the release of UK films across four international territories. Further recipients were Pillion, Wasteman, Broken English and Palestine 36. Festival Launch grants supported premieres at major international festivals.

Super Early Bird tickets are now on sale for Screen International’s third annual summit, ’Financing the future of UK film’, which is taking place on September 29, 2026, at BFI Southbank in London. The Super Early Bird offer price is £195+Vat. Buy tickets here The summit will bring together executives, filmmakers and fresh voices for a day of talks and networking to explore the new money, talent and ideas driving the sector at a time of significant disruption and opportunity. The sessions will cover: What private equity investors are looking for from UK producers How indie filmmakers can structure projects to